ART DAMAGE MOVIE NIGHT @ JUNIOR GALLERY
DECEMBER 15th
The Original British Max Headroom Television Movie
vs.
The American Serial TV Drama Copy Max Headroom
Harry Pussy- Live Fuck Love Songs
Live documentation of the legendary no wave/free rock/punk/free jazz
Florida band, Harry Pussy!
Wikipedia entry- http://en.wikipedia.org/wiki/Harry_Pussy
http://www.allmusic.com/cg/amg.dll?p=amg&sql:sm5zefyk8gf5~T1
Interview themselves- http://www.coolbeans.com/cb6/HARRY.HTM
Interview by Alan Licht-
http://www.matadorrecords.com/bands/runon/harry.html
8pm / Free! / All ages!
Junior Gallery
2159 Central Ave.
Cincinnati, OH
45214
Max Headroom Too Much Info (as stolen from the internet all hail copy
and paste):
Max Headroom was one of the most innovative science fiction series ever
produced for American television, an ambitious attempt to build upon
the cyberpunk movement in science fiction literature. The character of
Max Headroom, the series's unlikely cybernetic protagonist, was
originally introduced in a 1984 British television movie, produced by
Peter Wagg, and starring Canadian actor Matt Frewer. ABC brought the
series to American television in March 1987, refilming the original
movie as a pilot but recasting most of the secondary roles. The ABC
series attracted critical acclaim and a cult following, but only lasted
for fourteen episodes. The anarchic and irreverent Max went on to
become an advertising spokesman for Coca-Cola and to host his own talk
show on the Cinemax cable network.
The original British telefilm appeared just one year after the
publication of William Gibson's Neuromancer, the novel which brought
public attention to the cyberpunk movement and introduced the term,
"cyberspace" into the English language. Influenced by films, such as
The Road Warrior and Bladerunner, the cyberpunks adopted a taunt,
intense, and pulpy writing style, based on brisk yet detailed
representations of a near future populated by multi-national
corporations, colorful youth gangs, and computer hacker protagonists.
Their most important theme was the total fusion of human and machine
intelligences. Writers like Gibson, Bruce Sterling, Rudy Rucker, and
Pat Cadigan, developed a shared set of themes and images, which were
freely adopted by Max Headroom.
Set "twenty minutes in the future," Max Headroom depicted a society of
harsh class inequalities where predators roam the street looking for
unsuspecting citizens who can be sold for parts to black-market "body
banks." Max inhabits a world ruled by Zic-Zac and other powerful
corporations locked in a ruthless competition for consumer dollars and
television rating points. In the opening episode, Network 22 dominates
the airwaves through its use of blipverts, which compress thirty
seconds of commercial information into three seconds. Blipverts can
cause neural overstimulation and (more rarely) spontaneous combustion
in more sedate viewers. Other episodes centered around the high crime
of zipping (interrupting a network signal) and neurostim (a cheap
burger pak give-away which hypnotizes people into irrational acts of
consumption). We encounter blanks, a subversive underground of
have-nots, who have somehow dodged incorporation into the massive
databanks kept on individual citizens.
At the core of this dizzying and colorful world was Edison Carter, an
idealistic Network 24 reporter who takes his portable minicam into the
streets and the boardrooms to expose corruption and
consumer-exploitation which, in most episodes, led him back to the
front offices of his own network. Edison's path is guided by Theora
Jones, his computer operator, whose hacker skills allow him to stay one
step ahead of the security systems–at least most of the time–and
Bryce Lynch, the amoral boy wonder and computer wizard. He is aided in
his adventures by Blank Reg, the punked-out head of a pirate television
operation, BigTime Television. Edison's alter-ego, Max Headroom, is a
cybernetic imprint of the reporter's memories and personality who comes
to "live" within computers, television programs and other electronic
environments. There he becomes noted for his sputtering speech style,
his disrespect for authority, and his penchant for profound
nonsequiters.
Critics admired the series' self-reflexivity, its willingness to pose
questions about television networks and their often unethical and
cynical exploitation of the ratings game, and its parody of game shows,
political advertising, tele-evangelism, news coverage, and commercials.
Influenced by MTV, the series's quick-paced editing and intense visual
style were also viewed as innovative, creating a televisual equivalent
of the vivid and intense cyberpunk writing style. This series's
self-conscious parody of television conventions and its conception of a
"society of spectacle" was considered emblematic of the "postmodern
condition," making it a favorite of academic writers as well. Their
interest was only intensified by Max's move from science fiction to
advertising and to talk television, where this non-human celebrity
(commodity) traded barbed comments with other talk-show-made
celebrities, such as Doctor Ruth, Robin Leach, Don King, and Paul
Schaffer. Subsequent series, such as Oliver Stone's Wild Palms or VR,
have sought to bring aspects of cyberpunk to television, but none have
done it with Max Headroom's verve, imagination, and faithfulness to
core cyberpunk themes.
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